Liturgical Theology

Taft R. F. The Great Entrance. A History of the Transfer of Gifts and other Preanaphoral Rites of the Liturgy of St. John Chrysostom. [A History of the Liturgy of St. John Chrysostom, vol. II]. Roma, 1975. (Orientalia Christiana Analecta; 200).

This article argues that in Ben Sira 50 the high priest is a representative office, not a person. That office sums up and binds together in worshipful unity (at-one-ment), through liturgical and civil duties, multiple identities: those of Adam, Israel, Lady Wisdom, God the Creator and the whole cosmos. The high priest is a multiple personality order. Chapter 50 is the literary and theological climax of the work. And the text is a vital witness to the shape of Israel's Temple theology in the Hellenistic and Persian periods, and to the way the Pentateuch was read and interpreted.

The Anointing of the Sick is possibly the most underappreciated and understudied sacrament. In To Die Is Gain, Roger Nutt seeks to bring greater attention to and appreciation for the Anointing of the Sick. Beginning with an examination of cultural perceptions of dying, death, and burial, To Die Is Gain exposes the ways in which contemporary atheism and physicalism mark a clear divergence from ancient attitudes. In contrast to contemporary hopelessness, the Anointing of the Sick is a powerful counter witness that highlights the great dignity of the human person and the depth of Christian hope. Unlike the cures to particular ailments facilitated by modern medical science, in Holy Anointing Jesus gives his dying followers the healing graces that they need to pass from this life to the next in loving union with Him. As Nutt exposes the biblical and traditional foundations of this sacrament, he corrects common misconceptions and malpractice of this sacrament, especially the ways in which Vatican II is often misleadingly enlisted to support a broadening of the sacrament from end-of-life situations to non-life threatening illnesses. Finally, Nutt carefully describes the graces and effects of the Anointing of the Sick and richly expounds the theological depth of the rite of the Anointing of the Sick. The result is that readers can confidently say with St. Paul that "To die is gain' (Philippians 1:21).

The adoption of Versus Populum worship (whereby the presider faces the assembly across the altar during the Eucharistic Prayer), is one of the widest and most recognizable effects of the liturgical renewal carried out in the wake of the Second Vatican Council. Its adoption was virtually universal. However today some critics are proposing that we return to celebrating the Eucharist with both the presider and the assembly facing the apse of the church (ad orientem). This study examines the historical background of liturgical orientation and reflects on the best practice for Christian assemblies today.

This essay presents a critical review of Schmemann's liturgical legacy and outlines a proposal for renewing his liturgical theology. Following a brief introduction, the essay examines the state of the Eucharistic revival attributed to Schmemann by looking at the state of liturgical practice in the Orthodox Church, with special emphasis on America. The essay then looks develops the core of Schmemann's legacy and asserts that his application of Eucharistic revival was aimed to renew ordinary parish life, a pastoral project related to his efforts in establishing an autocephalous Church in America. The penultimate section of the essay addresses a crucial problem: the tendency to evaluate liturgical reform by observing the forms of ritual practice. This component of the essay's argument states that limiting evaluation to observation of ritual forms promotes the proliferation of subjective views that privilege one or another liturgical style on the basis of aesthetical preference. Here, we will explore the complexities of liturgy as the bearer of multiple ecclesial identities as a problem interrupting the process of renewing Church life, with attention to Schmemann's liturgical eschatology. The agenda for renewing Schmemann's liturgical legacy concludes the essay. In this section, we will outline an agenda for restoring liturgical renewal by outlining the steps required and obstacles that need to be confronted in the twenty-first century milieu. Outline of the essay:

This article examines the celebration of Lazarus Saturday in Hagiopolite liturgical practice between the late fourth and early tenth centuries. Lazarus Saturday occupied a significant place within the liturgical year in ancient Jerusalem, signaling the end of Lent and the beginning of Holy Week. Building on several previous studies concerning the structural development of the Lazarus Saturday rites, this work offers a consideration of the broader themes and beliefs celebrated in these liturgies. It concludes by noting that Lazarus Saturday served as an encapsulation of the community’s Paschal celebration of salvation through Christ and a thematic hinge that connected the events of Holy Week to the lives of worshippers.

The article offers a reflection on liturgy seminar methodology, drawing from the author's personal experience while teaching at the Pontifical Liturgical Institute in Rome. Consideration of an academic seminar serves also as an opportunity to examine issues regarding classification of “liturgical studies” (“liturgical sciences”) and of “theology" of liturgy on the map of liturgical disciplines, as well as to study the practical applications of the term “liturgy” in the Polish Catholicism.

BOOK LAUNCH INVITATION

Four Courts Press
cordially invites you to the launch of


The Cultural Reception of the Bible:
Explorations in theology, literature and the arts
Essays in honour of Brendan McConvery, CSsR

Salvador Ryan & Liam M. Tracey, OSM, editors

at 8.00 p.m. on Wednesday 5 December 2018
in Pugin Hall, St Patrick’s College, Maynooth, Co. Kildare

The book will be launched by Aidan Mathews, RTÉ,
& Rev. Dr Ken Newell, former Moderator of the Presbyterian Church in Ireland.


RSVP (acceptance only) Four Courts Press | info@fourcourtspress.ie
If you are unable to attend the launch but would still like to purchase a copy
of this book, please contact Four Courts Press directly at 01 453 4668.

*************************

To learn more about this book, visit the Four Courts Press website at
http://www.fourcourtspress.ie/books/2018/the-cultural-reception-of-the-bible/

This thesis follows the method of British Baptist liturgical theologian Christopher Ellis, applying it to the gathered worship of Aotearoa Baptists. The first chapter establishes the project as a ‘liturgical theology’ as opposed to a ‘theology of worship’, while at the same time acknowledging the critical step that Ellis adds to the method of Orthodox liturgical theologian Alexander Schmemann. It also clarifies the project’s methodological approach, tools, aim and scope. The second chapter uses the framework of Transplanting, Trending and Tending to provide a summary of the key developments in Aotearoa Baptist worship, from the first baptistic worship in the Nelson region to the present diverse nation-wide expression. Chapters 3-7 discuss five broad areas of Aotearoa Baptist worship: ‘Sharing’ (offered as a new category for description of Baptist worship), Prayer, Singing, Scripture and Sacraments. Following the first three steps of the method of Ellis, each chapter first outlines the variety of data for each grouping of activity, clarifying the meaning of that activity and discerns its wider liturgical value. The final chapter, representing the final step of Ellis, seeks opportunities for the development of Aotearoa Baptist worship for each category of activity.

Exegesegeschichtlich ist die Erklärung von Ps 140 (141) 2 ein methodisches Musterbeispiel patristischer Schriftauslegung: Nach der Vergewisserung über den auszulegenden Text einschließlich textkritischer Varianten bietet Chrysostomus eine historische Sacherklärung des alttestamentlichen Phänomens, auch wenn er dieses nicht nur im Lichte allgemeiner Kultterminologie, sondern auch der neutestamentlichen Rezeption vor allem im Hebräerbrief, aber auch zum Beispiel in 1 Petr 2,5 erschließt und somit zumindest für biblisch informierte Ohren bereits in der historisch-sachlichen Interpretation auch metaphorische Resonanzen anklingen läßt. Im dritten Schritt folgt die paränetische Aktualisierung für das Auditorium in Form jener anthropologischen Allegorese, die schon im biblischen Vergleich des Gebets mit Weihrauch und des Erhebens der Hände mit dem Abendopfer angelegt ist und im vierten Schritt in den direkten Imperativ mündet; 1 Petr 2,5 mit seiner kultmetaphorischen Ekklesiologie und die paulinische Rede von den Christen als Tempel und Leib Christi sind wichtige Intertexte dieser abschließenden Anwendung.
Liturgiehistorisch bezeugt schon die Einleitung zur ganzen Homilie die auch sonst breit belegte Verwendung von Ps 140 (141) als Abend- und Ps 62 (63) als Morgenpsalm der Tagzeitenliturgie in Antiochien; bemerkenswert ist der Hinweis darauf, daß die ganze Gemeinde psalliert und sich nicht etwa nur durch einen Kehrvers an der Psalmodie beteiligt.
Theologisch bedeutsam ist die Erklärung, durch den Gesang dieser Psalmen würden die Sünden des Tages getilgt; es handelt sich um eine Auffassung, die umso klarer der Überzeugung des Chrysostomus entspringt, als sie nicht wirklich aus dem biblischen Text zu gewinnen ist. Der Tagzeitenliturgie Bußcharakter zuzuschreiben, lag im Zug der Zeit und war wohl auch ein Grund für die seit dieser Epoche – wenn auch nicht im Antiochien des Chrysostomus – bezeugte Verbreitung von Ps 50 (51) als Morgenpsalm; auch die Dimension der Versöhnung wird gelegentlich angesprochen. Der Psalmodie selbst wird freilich nirgends so deutlich die sakramentliche Wirkung der Sündenvergebung zugeschrieben wie in der vorliegenden Homilie zum täglichen Abendpsalm 140 (141), welcher nach Johannes Chrysostomus von den Vätern angeordnet wurde, damit er „als ein Heilmittel gesagt werde, das rettet und von Sünden reinigt“ (PG 55, 427) – ein Höhepunkt der altkirchlichen Auffassung von der Wirksamkeit des Wortes Gottes.

The articles in this list prioritize Black authors, Black experiences, and highlight ways in which racism is intertwined with liturgical practices and the historical development of liturgies in America. Made available for the public to use in parishes and classrooms.

Originally published on PrayTellblog.com.

The choice of musical repertoire for the celebration of the sacrament of marriage has become the subject of more frequent and widespread discussions. Media publications on the subject which provide suggestions for the choice published in the media and promoted cultural solutions for music attest to the existence of a problem and the urgent need to arrive at some form of resolution. In this article, the issue of music and songs at church weddings is presented in three parts: the first clarifies the existing problem; the second shows the cultural factors which have led to the existence of the problem; the third part demonstrates the urgent need to formulate a rightful solution regarding the choice of music within the context of Christian liturgy. Suggestions for this choice put forward in the mass media, together with current cultural trends, do not always advocate appropriate choices. The guidelines given to the bridal couple in order to assist them in their choice of music should always be in keeping with liturgical law. The rules and regulations which govern liturgical law lead to a deeper understanding among the faithful of the true meaning of sacramental rituals and their Christian significance. Consequently, they can never be subject to personal taste alone. Observance of these regulations ensures the Christian authenticity of the liturgy as ordained by Christ and the Christian community, and it enhances the aesthetic aspect; indeed, every bridal couple wishes their nuptial Mass to be beautiful. Consequently, they should be made acquainted with the Church’s teaching on liturgical musical settings. Adherence to prescribed norms not only guarantees the essential holiness of the liturgical celebration, but also ensures that their sanctity is not undermined, and allows for inclusive participation in the liturgy.

Kreuzzeichen und Katechumensalbung; Taufe; Salbung mit Chrisam; Bekleidung mit dem weißen Taufgewand; Taufkerze
The Signs of Baptism for Children: Sign of the cross; Anointing with the oil of catechumens - Baptism - Anointing with Chrisam - Clothing with the white garment - Baptismal Candle

Over gebed in de monastieke context is veel gezegd en geschreven. Bidden is immers voor Benedictus en voor zijn leerlingen een centraal gegeven. Het lijkt voor hem echter ook vanzelfsprekend te zijn. De Regel voor monniken heeft geen apart hoofdstuk over dit onderwerp. Als hij spreekt over het doel van het monastieke leven, gaat het veel meer om 'het goede doen en het kwade vermijden'. In de proloog komt het bidden niet voor als aparte deugd, maar als de vanzelfsprekende context. Het wordt ook genoemd als één van de werktuigen om goed te handelen, in 4,56. Het gebed wordt verder aangehaald: bij het ontvangen van gasten (53, 4 en 7), bij de relatie met vijanden (4,72), bij de start van een religieus leven (Prol. 4), bij broeders die zich misdragen (28,4). Uit al deze voorbeelden blijkt dat het gebed als een krachtig middel werd beschouwd om Gods hulp in te roepen. Er is een apart hoofdstuk gewijd aan de eerbied bij het gebed, namelijk c. 20. Over het getijdengebed, en met name de ordening van het getijdengebed, gaan de hoofdstukken 8 tot en met 18. Dit is grotendeels een zakelijke opsomming van de verdeling van de psalmen over de verschillende officies. Hier en daar komt het begrip eerbied weer naar voren. C. 16 is de enige plaats waar het begrip lofprijzing enkele keren genoemd wordt als doel van het getijdengebed. Maar wat zijn de principes en uitgangspunten van Benedictus' visie op het gebed? We volgen hierin het mooie boek van Korneel Vermeiren, Bidden met Benedictus. Tot het gebed en de liturgie behoort volgens Benedictus zeker ook de geestelijke lezing, de lectio divina of in het algemeen het biddend luisteren naar een lezing. Omwille van de overzichtelijkheid moeten we dat echter buiten beschouwing laten. We moeten de Regel van Benedictus verstaan tegen de achtergrond van de woestijnvaders, van wie de ideeën en praktijken door Cassianus in het Westen bekend zijn gemaakt. Voor de woestijnvaders gold het evangelische ideaal van voortdurend gebed. Zij zaten in hun cel, deden hun handarbeid en baden daarbij voortdurend: psalmen en aanroepingen. Volgens Benedictus (RB 18,25) baden de woestijnvaders elke dag alle 150 psalmen. Zij wisselden dit af met smeking of stil gebed. Hun ideaal was het voordurend te bidden, door het uitspreken van teksten maar vooral door hun geest op God gericht te houden. De inhoud van hun gebed was zeker lofprijzing en dankzegging, maar vooral ook het belijden van eigen tekort en het bidden onder tranen vanwege de eigen zondigheid. Het ideaal van het voordurende gebed ontleenden zij aan teksten van het evangelie en van Paulus: 1 Tess 5,17: Bidt zonder ophouden; Ef 6,18: Bidt en smeekt in de Geest bij elke gelegenheid en op allerlei wijzen'. En vooral de evangelist van het gebed, Lucas: zie 18,1-8: 'Hij leerde hun dat ze steeds moesten bidden en niet versagen'; dit wordt geïllustreerd door de parabel van de weduwe en de onrechtvaardige rechter. Jezus heeft niet opgeroepen tot bepaalde gebedstijden (hoewel hij en zijn leerlingen wel op vaste uren naar de tempel gingen), maar tot voortdurend gebed. Hij had zelf ook een voortdurend contact met zijn Vader. De liefde voor God en de verbondenheid met God behoren tot de kern van de evangelische boodschap. 'God komt heel ons leven toe, heel onze dag en heel onze nacht en niet alleen enkele ogenbikken. God is ons al. En de enige eer die Hem past is het geven van alles, ook het geven van al onze tijd'(Vermeiren, 17).

This essay examines R. F. Taft’s role in the papal decision to recognize the Addai and Mari Anaphora a true eucharistic prayer, but even more so the pros and cons of this decision. The main obstacle was the position that exactly the Lord’s words “This is my body” and “This is my blood” are the sacramental “form” of the Eucharist. Yet, R. F. Taft showed that the (Roman) Catholic teaching does not mean that the transformation of bread and wine into the body and blood of Christ takes place exactly when these words are pronounced. It is more in line with tradition to hold that the transformation of the eucharistic gifts takes place because Christ himself pronounced these words on Holy Thursday and because, during the anaphora, prayers of thanksgiving, epiclesis and offering express the faith that the gifts are really transformed into Christ present in the sacrament.

For centuries, Christian theology has understood the Eucharist in terms of metaphysics or in protest against it. Today an opening has been made to imagine the sacrament through the method of phenomenology, bringing about new theological life and meaning. In Dialectical Anatomy of the Eucharist, Donald Wallenfang conducts a sustained analysis of the Eucharist through the aperture of phenomenology, yet concludes the study with poetic and metaphysical twists. Engaging the work of Jean-Luc Marion, Paul Ricoeur, and Emmanuel Levinas, Wallenfang proposes pioneering ideas for contemporary sacramental theology that have vast implications for interfaith and interreligious dialogue. By tapping into the various currents within the Judeo-Christian tradition--Jewish, Catholic, Orthodox, and Protestant--a radical argument is developed that leverages the tension among them all. Several new frontiers are explored: dialectical theology, a fourth phenomenological reduction, the phenomenology of human personhood, the poetics of the Eucharist, and a reinterpretation of the concept of gift as conversation. On the whole, Wallenfang advances recent debates surrounding the relationship between phenomenology and theology by claiming an uncanny way out of emerging dead ends in philosophical theology: return to the fray.

En parlant de l’œcuménisme pratiqué par la communauté de Taizé, Olivier Clément le définissait comme un œcuménisme de l’essentiel, né de l’immense souffrance provoquée par la tragédie de la deuxième guerre mondiale2. Frère Alois confirme ce rapport à l’œcuménisme en affirmant que l’œcuménisme est une „recherche de l’essentiel” que signifie notre relation avec Jésus Christ. Pratiquer un œcuménisme de l’essentiel signifie donc rechercher ce qui est absolument nécessaire pour la foi, sans vouloir pour autant bousculer le temps et pousser les autres chrétiens à des consensus dogmatiques, mais en même temps il signifie avoir le courage résolu de commencer à marcher dans la voie de l’unité chrétienne à l’instar des femmes qui se sont dirigées vers le tombeau du Christ lorsqu’il faisait encore sombre, donc lorsqu’il n’y a pas encore un espoir concret pour l’unité chrétienne, lorsqu’il est encore trop tôt pour beaucoup d’entre nous. Ils se sont engagés dans une mission spirituelle pour servir l’unité chrétienne dans un contexte et à un moment où il faisait encore sombre. Peut-être Frère Roger et sa communauté s’interrogeaient eux aussi comme les femmes qui, le matin de la Résurrection, se dirigeaient vers le tombeau du Christ: Qui nous roulera la pierre loin de l’entrée du sépulcre? Les différences historiques, culturelles,
2 Olivier Clément, Taizé. Un sens à la vie, Bayard Edition, Paris 1997, p. 13.
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Mikhtav 84
sociologiques, psychologiques et surtout dogmatiques constituent en effet une pierre immense qui, telle la pierre qui scellait le tombeau du Christ, ne peut pas être facilement écartée lorsque des chrétiens appartenant à des Églises différentes cherchent à former une seule communauté. Mais le courage d’inaugurer cette voie monastique et liturgique tout à fait spéciale et pourtant dans la ligne de la Tradition de l’Église indivise, comme on va le voir, fit remarquer aux frères de Taizé et à ceux qui les suivirent à travers les pèlerinages que la pierre avait déjà été roulée par les anges.
Un évêque serbe observait que Taizé était „une communauté œcuménique sur un fondement protestant, compatible avec la spiritualité de l’Église catholique, mais toujours ouverte vers l’Esprit orthodoxe”. En cette conférence nous chercherons à identifier comment la liturgie de la communauté de Taizé a été particulièrement enrichie par son ouverture envers la Tradition présente dans l’Église orthodoxe et dans l’Église catholique.

¿Cuáles son esos signos y símbolos para la liturgia contemporánea? ¿Hacia dónde hemos de mirar? ¿Cuál debe ser, por tanto, el modelo de referencia para la creación de arte sacro?  La presentación de la tercera edición oficial del Misal Romano en su edición española debe ayudarnos.

L’idea che sottende a questo scritto è contribuire alla presa di consapevolezza di un ritardo nella comprensione pastorale del linguaggio musicale come pragmatica epistemologica fondamentale per l’efficacia sacramentale del momento celebrativo, nel tessuto delle dinamiche dialogiche tra l’uomo e Dio che il rito dischiude. Tra i linguaggi estetici, sin dall’antichità quello musicale è quello ritenuto come il più connaturale al comunicarsi del divino, per l’intrinseca qualità liminale delle sue dinamiche e dei rapporti che lo costituiscono come linguaggio dell’eccedenza e, per questo, come forma espressiva privilegiata per aprire l’accesso a ciò che trascende l’essere umano. Tuttavia, nelle nostre comunità come nelle commissioni di musica sacra, si discute ancora troppo su quali canti fare, più che su quali dinamiche una certa musica mette in campo nella celebrazione liturgica. Il disorientamento nasce dalla difficoltà di individuare uno statuto definitivo per l’arte musicale del rito, che rispetti gli equilibri fra tradizione e adattamento, contenuto teologico e cultura, oggettività della rivelazione e soggettività della percezione (dell’oggetto della rivelazione), mediazione e immediatezza nel sentimento del sacro. Il Concilio Vaticano II apre una strada che incide fortemente sulla necessità di rivedere le forme dell’annuncio, soprattutto rituali, della fede, e dunque i linguaggi e le coordinate di una espressione del rapporto col divino quanto mai ricca e variegata, quanto ricca è la tavolozza dei colori dell’esperienza umana. Così dagli anni ‘70 nel contesto ordinario delle nostre celebrazioni si può trovare di tutto nello stesso tempo, dal brano classico alla canzoncina pop, dal canto gregoriano a cappella alla musica con accompagnamento elettronico, all’assenza del musicale, avvertito come accessorio. Se la varietà delle scelte è opportuna e giustificata dalla necessità di venire incontro alle esigenze di un’assemblea liturgica sempre  differente (talvolta disgregata in specifici gruppi e fasce di età di fanciulli, di giovani, di anziani, di famiglie, di scout...), e dunque dal compito della regia celebrativa di tenere presente la concretezza del popolo di Dio, occorre tuttavia ricercare (e una volta trovate salvaguardare) quelle che sono le conditiones sine qua non di una autentica efficacia (espressiva e quindi sacramentale) rituale. La presente ricerca si propone di mostrare come la musica sia parte integrante del rito al punto tale da essere identificata attraverso l’esperienza del ritmo (esperienza connaturale sia alla musica che al rito). Essa non è un elemento secondario della celebrazione che si possa tralasciare, ma la sua presenza imprescindibile nel rito è legata alla sua efficacia teologale, per la sua capacità di incidere, con le sue dinamiche, nel profondo del sentimento originario del sacro, rendendo il rito gioioso e desiderabile, vitale ed efficace. L’ambito di questo studio è la musica del rito e per il rito, per indagare quale musica sia quella realmente liturgica. Una volta precisata la musica nel contesto performativo del rito delineando alcuni tratti per una essenziale fenomenologia del rito in riferimento alla musica, verranno delineati gli scenari aperti dalla musica rituale per il suo decisivo valore simbolico. Fondamentale è riconoscere le condizioni imprescindibili della musica come rito. Essa mette infatti in campo un tipo di comunicazione che è quella di cui vive l’azione rituale, dal momento che chiama in causa il sacro, per rispettarne lo statuto non può essere tradotta in parole e concetti. La dinamica di rivelazione si gioca sempre all’interno dello spazio personale di chi partecipa al rito, in maniera mai anticipabile. La dia-logica del rito non è la logica dell’utile e del calcolo, ma lo spazio in cui può farsi strada la luce dell’inatteso. Proprio questa capacità, che il musicale custodisce, di condurre l’uomo a una sorta di ‘svuotamento’ contenutistico che lascia spazio all’emozione, permette l’apertura a una dimensione liminale e fa sì che la musica possa essere una modalità dell’accadere dell’esperienza originaria del sacro. È  qui che diventa possibile parlare dell’efficacia sacramentale della musica per il rito.

Die Tagzeitenliturgie ist der tägliche Gottesdienst der Kirche, auch wenn sie in Praxis und Bewusstsein der meisten Gemeinden gegenüber einem zunehmend inflationären Messwesen und Resten sekundärer Andachtspraxis in den Hintergrund getreten ist und faktisch häufig nur mehr als Sonderübung religiöser Spezialisten wahrgenommen wird. Das liegt auch daran, dass ihre überkommene Gestalt stark von monastischer Spiritualität geprägt ist; speziell im Westen ist eine gemeindegerechte Form des täglichen Gottesdienstes zur Ausnahme geworden, wenngleich in jüngerer Zeit bemerkenswerte Neuaufbrüche festzustellen sind.

In der folgenden Studie werden die zwei Interpretationsmodelle der Schlussdoxologie (doxologia finalis) vorgestellt und näher analysiert. Das erste Modell tematisiert das immanante, das zweite hingegen das ökonomische Leben des dreifaltigen Gottes.

In this paper we analyse the reference to liturgy as a monument of Christian tradition as it occurs in the work of the theologian Yves Congar. How does tradition relate to Christian liturgy in its contemporary character? To answer it this article examines (1) what is the general meaning of a monument of tradition; (2) what exactly Congar means by liturgy as a monument of tradition; and (3) what a detailed study and analysis of his theory offers to further theological reflection on liturgy. Eight features of the style, mode and contents of liturgy as a monument of tradition as traced in Congar’s works are given.  Summarized their message is: liturgy in the living, practical sense of the word is what Congar calls the privileged place where tradition is preserved and communicated. As a conclusion we identified four results: the concept of a monument of tradition focuses attention on liturgy as an independent reality, a coherent whole, a given phenomenon, and a channel for the revelation of the reality of faith. Thus liturgy emerges as a form of tradition, in which the Christian religious treasure is received, conserved and handed down.

In jeder Eucharistiefeier erklingt das wohlbekannte Sanctus. Man nennt diesen Gesang auch Hymnus seraphicus, und denkt dabei an die Berufungsvision des Propheten Jesaja (Jes 6,3). Die vorliegende Studie hat sich vorgenommen den liturgischen Sanctus-Gesang mit dem Gesang der Seraphe, den Jesaja in seiner grandiosen Vision vernommen hat, zu vergleichen. Im liturgischen Text des Sanctus sind gegenüber der biblischen Grundlage von Jes 6 einige neue Akzente zu beobachten. Diese wollen wir im Folgenden analysieren.

Gesänge tragen besonders zur charakteristischen Spiritualität einer liturgischen Tradition bei; sie prägen sich tiefer ein als Lesungen oder Gebete. Was die römische Liturgie gegenüber anderen Riten des Ostens und Westens besonders auszeichnet, ist ihr Biblizismus: Selbst um das Innerste christlicher Feste auszudrücken, bedienen sich die gregorianischen Gesänge praktisch ausschließlich der Bibel, vornehmlich der Psalmen. Dabei greift die liturgische Psalmenverwendung einerseits auf Inhalte und Methoden der Deutung zurück, die schon zum Grundbestand neutestamentlicher Theologien gehören; andererseits setzt sie eine Vertrautheit mit dem kanonischen Text voraus, die nur durch ständige Rezitation hergestellt werden kann.

Liturgie- und predigtgeschichtliche Bedeutung gewinnt der vorgestellte Text vor allem durch seine mutmaßliche Datierung nicht nur vor allen anderen erhaltenen Homilien auf das Epiphaniefest, sondern unter die ältesten Predigten über die Geburt Christi überhaupt, sowie durch seine Herkunft nicht aus einem „stilbildenden Zentrum“ altkirchlicher Liturgiegeschichte, sondern aus der Provinz; die Etablierung von Epiphanie als Geburtsfest im Einflußbereich von Jerusalem ist damit möglicherweise früher belegt als bislang generell angenommen. Das letzte Wort über die Titus-Fragmente De Epiphania hat freilich schon am Beginn des letzten Jahrhunderts Joseph Sickenberger „einem Orientalisten von Fach überlassen.“ Die Festgabe für einen der prominentesten Orientalisten unter den heutigen Liturgiewissenschaftlern sei der Anlaß, an diese noch immer ausstehende Aufgabe zu erinnern.

The memorial of the saints through the course of the year is the most obvious
manifestation in the liturgical tradition of the cult offered the saints. References
to specific saints are found, however, in Catholic and Orthodox liturgies, most
importantly in the eucharistic prayers or anaphoras. Other liturgical celebrations
include the invocation of the saints in the form of more or less developed litanies:
the Paschal vigil, baptisms, ordinations and religious professions, consecration of
virgins, abbots or abbesses, celebration at the opening of a diocesan synod, various
consecrations of buildings and liturgical objects, and exorcisms. The saints are
mentioned, finally, though without specific names, in the Confiteor of penitential
liturgies (mass, sacrament of reconciliation, anointing of the sick, compline). The
goal of this article is to attend to certain ecclesiological dimensions when someone
decides to add or suppress this or that saint in a litany at an ordination.

Rationale background of this book is the solid phenomenon of church. Using ethnography methods, this book is an interesting discussion about the church, young people and its culture. The author associate (popular) culture, young people, with gospel narratives to produce what the church is. He offers a more fluid, adaptive and responsive ecclesiology as the roots of everyday culture of church that is lived. This study also recommends the very practical forms of a liquid church. The final suggestion as a mental and spiritual attitude so that church remains liquid and fresh, is openness. This book shares a rich discourse in the field of ecclesiology, liturgy, church building, pastoral, popular culture, and intergenerational culture.

Latar belakang masalah buku ini adalah fenomena gereja yang kaku. Menggunakan metode etnography, buku ini merupakan sebuah bahan diskusi yang menarik tentang gereja, anak muda dan budayanya. Penulis menghubungkan budaya (populer), anak muda, dengan narasi Injil untuk menghasilkan apa itu gereja. Ia menawarkan eklesiologi gereja yang lebih cair, adaptif dan responsif terhadap akar-akar budaya sehari-hari yang dihidupi. Bagian-bagian setelahnya berisi diskusi tentang bentuk-bentuk praktis yang sangat memungkinkan dari konsep gereja yang cair. Akhirnya, anjuran sikap mental dan spiritual agar sebuah gereja tetap cair dan fresh bagi komunitas di dalam dan di sekitarnya adalah keterbukaan. Buku memperkaya diskusi di ranah eklesiologi, liturgi, pembangunan jemaat, pastoral, budaya populer, dan intergenerasional.